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![](https://daebyguoajvcw.cloudfront.net/wp-content/uploads/6832-300x239.jpg "<div>
<p>In the summer of 1845, Bingham returned to his St. Louis home from a winter stay in central Missouri, bringing with him several paintings and sketches. This was one of those works that he later sent to New York’s American Art-Union, a subscription-based organization that promoted American art nationally through exhibitions and the distribution of popular prints. Titled by the artist "French Trader & Half breed Son", the Art-Union changed it to the more generic and less controversial "Fur Traders Descending the Missouri". Bingham, who began his career as a portraitist, produced this distinctive genre painting with little precedent in his oeuvre. The tranquil scene, with its luminous atmosphere, idealized the American frontier for the benefit of an Eastern audience.</p>
<p>A Native perspective:<br />
Famous for its exceptional calm, this work seems more concerned with atmosphere than the narrative vignettes typical of genre painting. The original title, French Trader and Half-Breed Son, provides greater context for Bingham's masterpiece: French fur traders routinely married Indigenous women to establish the necessary kinship relations that made it possible for them to take furs from Native territories. These marriages not only created valuable trade networks but also established familial obligations of reciprocation that meant goods flowed into Native communities. Bingham's painting offers an alternative vision of western expansion—one characterized by intermarriage and trade, not conflict. The American Art-Union's change of title in 1845 from the more racialized and less palatable original resulted in a loss of insight into one facet of the early frontier.</p>
<p>—Scott Manning Stevens (Akwesasne Mohawk)<br />
Both citations are from the Metropolitan Museum of Art, New York.</p>
<p>SKU: 6832<br />Creator: George Caleb Bingham<br />Date: 1845<br />Original Medium: Oil on canvas<br />Original Size: 29 × 36 1/2 in.<br />Location: Metropolitan Museum of Art<br /><span style=\"font-size:small\"></span></p>
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![](https://daebyguoajvcw.cloudfront.net/wp-content/uploads/70875-300x228.jpg "<div>
<p>This view of Pontoise, just northwest of Paris, helped establish Pissarro’s reputation as an innovative painter of the rural French landscape. The critic Émile Zola praised the picture enthusiastically when it was shown along with another rustic scene at the Salon of 1868, writing, "This is the modern countryside. One feels that man has passed by, turning and cutting the earth. . . . And this little valley, this hill have a heroic simplicity and forthrightness. Nothing would be more banal were it not so grand. From ordinary reality the painter's temperament has drawn a rare poem of life and strength."<br />
– Metropolitan Museum of Art</p>
<p>SKU: 70875<br />Creator: Camille Pissarro<br />Date: 1867<br />Original Medium: Oil on canvas<br />Original Size: 34 1/4 × 45 1/4 in.<br />Location: Metropolitan Museum of Art</p>
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![](https://daebyguoajvcw.cloudfront.net/wp-content/uploads/70352-231x300.jpg "<div>
<p>In a 1908 interview Calverley recalled the subject of this naturalistic relief and the circumstances of its production. He met Ida at a summer hotel while she tended a boy whose portrait he was modeling, and noticed the "string of alabaster beads around her long neck, and large red ear-drops." Calverley included anecdotal touches in this portrait, including the curls of hair escaping from her knotted scarf, the unbuttoned collar, and the slight twist of the necklace. </p>
<p>Calverley modeled this lovely work in 1869 but he carved it in 1881.</p>
<p>SKU: 70352<br />Creator: Charles Calverley<br />Date: 1869; carved 1881<br />Original Medium: Marble<br />Original Size: 17 x 13 in.<br />Location: Metropolitan Museum of Art<br /><span style=\"font-size:small\"></span></p>
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![](https://daebyguoajvcw.cloudfront.net/wp-content/uploads/70157-300x226.jpg "<div>
<p>As part of the visual and technical experimentation that characterized the Bauhaus, the German design school where he taught, Moholy-Nagy made cameraless photographs, or "photograms," by placing objects on a sheet of photographic paper and exposing it to light. He used the technique to make abstract compositions with spatial, tonal, and gestural qualities that challenged traditional modes of representation.<br />
– Metropolitan Museum of Art</p>
<p>SKU: 70157<br />Creator: László Moholy-Nagy<br />Date: 1922<br />Original Medium: Gelatin silver print<br />Original Size: 9 7/16 x 7 1/16 in.<br />Location: Metropolitan Museum of Art</p>
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![](https://daebyguoajvcw.cloudfront.net/wp-content/uploads/70155-226x300.jpg "<div>
<p>Moholy-Nagy was a central figure at the Bauhaus in Weimar and Dessau from 1923 to 1928 and at the New Bauhaus (later the Institute of Design) in Chicago from 1937 until his death. Both as an artist and as an educator, Moholy-Nagy used photography as a means of challenging conventions of visual perception and representation. Among the methods he advocated to promote the "new vision" was the cameraless photograph or photogram – at once the most direct and the most oblique of translations from object to photograph. Moholy-Nagy made this abstract image by resting commonplace objects on a sheet of photographic paper and exposing it to light.<br />
– Metropolitan Museum of Art</p>
<p>SKU: 70155<br />Creator: László Moholy-Nagy<br />Date: 1925–1928<br />Original Medium: Gelatin silver print<br />Original Size: 9 7/16 x 7 1/16 in.<br />Location: Metropolitan Museum of Art</p>
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